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Love's Labour's Lost
Tickets and Information


SHOW INFORMATION

Average of 5 stars from 2 ratings.

CURRENTLY CLOSED
Opened Dec 8, 2009
Closed Dec 21, 2009

Visit the Love's Labour's Lost website:
http://www.pace.edu/page.cfm?doc_id=26252

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WHAT IS IT ABOUT?

In Love's Labour's Lost self-denial is in fashion at the court of Navarre where the young King and three of his noblemen solemnly forswear the company of women in favor of serious study. But the lovely, sharp-tongued Princess of France and her all-too-lovely entourage soon arrive with other ideas and it isn't long before young love, with its flirtations, hesitations and embarrassments, has broken every self-imposed rule set by the young men.

Written shortly after he completed the sonnets, Shakespeare's boisterous send-up of all those who try to turn their back on life, is a festive parade of every weapon in the youthful playwright's comic arsenal: from excruciating cross-purposes and impersonations, to drunkenness, fist-fights and pratfalls. Even more, it is a joyful banquet of language, full of puns, rhymes, bizarre syntax, grotesque coinages and parodies, which the company made their own through a unique rehearsal process for performances at Shakespeare's Globe in 2007, and a revival last summer. And appropriately enough, it is a play that Queen Elizabeth the first commanded for her own holiday festivities nearly 400 years ago.

THEATER/VENUE INFORMATION:



Michael Schimmel Center For The Arts, Pace University
3 Spruce St
New York, NY 10038


WHAT ARE CRITICS SAYING?

One of William Shakespeare's earliest comedies, Love's Labour's Lost, now being presented by Shakespeare's Globe at the Michael Schimmel Center for the Arts, is filled with a sort of youthful irreverence that's only hinted at in later works such as Twelfth Night and As You Like It. There's something charming about the freeness of this Shakespeare play, but in director Dominic Dromgoole's production, the quality is so over-emphasized that the piece becomes bewilderingly tedious. Indeed, audiences must endure too much physical comedy that inspires not guffaws, but incredulity.

The play centers on Ferdinand, King of Navarre (a rubber-faced Phillip Cumbus), who with three of his best friends, [...]


Reviewed by Andy Propst on Dec 11, 2009

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